atddta 32:scale degree a semitone above

[Joe Allonby]

Much simpler: The Phrygian is a mode resolving to the third degree of a
scale. Let's use C because it's easy. C-D-E-F-G-A-B-C. That's Ionian mode.
If you play the same scale but start on and resolve to D, that's Dorian. E
Phrygian would be E-F-G-A-B-C-D-E. Lydian would be F-G-A-B-C-D-E-F. Same
scale, different root and resolution (or in some cases lack thereof). You
can continue on through Mixolydian and Aeollian. If you really want to sound
weird, try Locrian which resolves to the seventh degree of the scale.


On 5/10/08, grladams at teleport.com <grladams at teleport.com> wrote:
>
> This concerns the Phrygian mode:
>
> --the presence of a scale degree a semitone above the final tonic- makes me
> think of those maths again. our third dimension-- plus one. Or makes me
> think of that little off dimension you see with your eyes looking through
> iceland spar..
>
> You can punch up wikipedia too, which states:
> Some Italian songs, like most of The Godfather soundtrack themes, are
> promptly recognized as Italian music by the flat second note, which
> identifies the Phrygian mode.
>
> GROVE MUSIC ONLINE:
> The expression 'Phrygian mode' is often used as a covering term for
> Renaissance and Baroque polyphonic compositions whose final sonority is an
> E major triad established by a Phrygian cadence and whose parts range more
> or less within the Phrygian or Hypophrygian ambitus; their principal
> cadence degrees, other than the final, are A, C, G and occasionally D. This
> polyphonic application of the Phrygian mode is sometimes found transposed
> up a 4th in the cantus mollis (i.e. with a one-flat signature), so that the
> final becomes a and all other modal functions and relations are also a 4th
> higher in terms of their notated degrees.
>
> 'Phrygian mode', or 'Phrygian scale', is frequently used with reference to
> European folksongs and diatonic non-Western melodies whose final or
> apparent tonic is related to the scale type in a manner similar to that of
> the Phrygian church mode. The most characteristic feature of such melodies
> is the presence of a scale degree a semitone above the final or apparent
> tonic; this is sometimes called an 'upper leading note'.
>
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